Harry Potter and the Deathly Hallows is at least 1/2 of a proper
conclusion. The seventh book in author J.K. Rowling’s wizard phantasmagoria,
Deathly Hallows has been chopped into two feature films to capture the full
lung capacity of the material, and perhaps yank some additional box office coin
along the way. But that’s cynicism, and there’s nothing cynical about this
gorgeously crafted, perilous journey with three heroes who’ve grown up before
our eyes over the last decade, iconically repelling evil with the support of a
miraculous, focused production team. The first half of this final battle is a
tonally unstoppable creature, blessed with a startling sense of stamina and
grandeur to support the epic tale of a boy wizard facing a dire journey towards
manhood.

Dumbledore is dead. Lord
Voldemort (Ralph Fiennes) has grown in power, with his Death Eater army sent out
into the world to eradicate all Muggles. With the Ministry of Magic in the Dark
Lord’s pocket and Hogwarts without their influential leader, it appears all hope
is lost. For Harry Potter (Daniel Radcliffe), the time has come to abandon the
life he once knew and begin the hunt for special Horcruxes, pieces of
Voldemort’s soul that, if destroyed, can end his heinous reign. Facing horrific
threats from all sides, Harry takes off with friends Hermione (Emma Watson) and
Ron (Rupert Grint) into the wilds of the world, armed with their Hogwarts
training and special gifts from Dumbledore’s will, used to combat attacks from
Voldemort’s minions, trackers, and the Horcruxes themselves, which extract
dreadful thoughts out of anyone who possesses them.

The crucial element at play
here in Deathly Hallows is time. The rest of the Harry Potter cinematic
saga has been racing against the clock since 2001, cleaving away entire subplots
and characters to fit an average running time of 150 minutes. The snipped
corners have been noticeable, but never problematic, with even the average fan
who’s never picked up one of the books (a.k.a. yours truly) able to chart the
dramatic progression of the story, following the characters as they mature,
watching the tales erode from wizarding enchantment to doomsday horror. Instead
of placing the vast narrative of Deathly Hallows into a snug three-hour shell,
the two pictures provide roughly five hours of screen time to page through the
quest, patiently absorbing the resplendent and harrowing details of the book,
slowing down the entire effort in a marathon manner that might leave those
weaned on the movies alone slightly disorientated.

"A tremendously engaging fantasy film!"

With the tempo cooled, director
David Yates (back for his third film) and screenwriter Steve Kloves pore over
the nuances of character and environmental changes, delighting in the
opportunity to kick the kids out of Hogwarts (nowhere to be seen in this
installment) and into the treacherous Muggle world, staging much of the action
in outdoor locations that open up the scope of the series. Instead of hallway
antics, Harry, Ron, and Hermione are forced to trek through the forbidding
coasts and forests of the countryside, shot with inhospitable magnificence by
Eduardo Serra. The newfound texture of the film is a knockout punch, reinforcing
this new reality for our heroes, off on a wintry adventure to confront the past
and secure what’s left of their future, with the tenuous interplay between the
trio making up the core of Deathly Hallows.

Now adults, the young wizards
are struggling with a different evil during the picture, with Yates depicting a
frighteningly violent realm of casualty and jealousy, upping the bloodletting
and sexual unease to communicate mature fears, far removed from the endearing
childish antics of the previous installments. Deathly Hallows earns its
PG-13 rating with a swell of actual dramatic stakes, as characters are killed
off unexpectedly to sustain the surprise and the triangle of pubescent wizardly
valor engages in furious wand shoot-outs with assassins, including a spectacular
gunfight inside a London café where Harry first learns there are no safe havens
in which he can hide. Voldemort and the Ministry of Magic have summoned the
world against the boy wizard, and this time they shoot to kill. Anyone that
dares to stand in their way? Dead.

While there’s plenty of room to
tell a bleak story of impending war, Yates and Kloves equally appreciate spots
of silent reflection, permitting the characters opportunities to sit down and
contemplate the journey ahead, with the passage of time emphasizing the doubt
that’s developing within them. Any other compacted pass at Deathly Hallows
would’ve jettisoned these preciously internalized moments without a second
thought, but the extended adaptation here permits stillness to the movie that I
trust aficionados will appreciate. After six motion pictures of breathless
exposition, it’s refreshing to sit a spell with Harry, observing him coming to
terms with his purpose, while offering unexpected acts of friendship (and
impromptu dances) to his loved ones. The deliberation and general caution of the
picture is a perfect way to say good-bye to this amazing run of feature films.

While the pace is slowed and
the characterizations enjoy some challenging obstacles, Deathly Hallows
remains a tremendously engaging fantasy film, with a few comedic beats from
Grint that bring laughs, a show-stopping midsection where the team infiltrates
the Ministry of Magic (production designer Stuart Craig outdoes himself here)
after downing some Polyjuice Potion, an animated sojourn that explains the
origin of the titular elements, and a revival of romantic business with an
appearance from Ginny Weasley (Bonnie Wright). In fact, a horde of famous faces
from the franchise return here to fill out the community of wizards, villains,
and ghouls, though nobody sticks around for too long. New additions Bill Nighy
(as Rufus Scrimgeour) and Rhys Ifans (as Xenophilius Lovegood) pop in and out
all too quickly, and there’s little room in the tale for darling Luna Lovegood (Evanna
Lynch), Harry’s endearing classmate who brightened up the last few pictures with
her daft charm.

How much of a godsend has Yates
been to this franchise? The most welcome presence in the picture is Dobby, the
bothersome, screechy house-elf last seen in Chamber of Secrets, who returns here
to protect his dear friends from harm. Now that’s some directorial magic.

Deathly Hallows doesn’t
invest much in a whiz-bang cliffhanger, instead pausing the action as Voldemort
attains a prized wand that will lead evil into battle . . . next July, at a
multiplex near you. A deliberate, nervy sequel that wisely matures with the
fanbase, perhaps it’s best Deathly Hallows: Part 1 takes a few seasons off to
settle into the system, building some delicious momentum before it returns with
a furious final stand, soaking up every last moment of Potter minutiae along the
way.